THE ULTIMATE TONEWHEEL ORGAN EXPERIENCE · Crumar Mojo is a modern classic, is built around the most recent technologies but feels and sounds as authentic as the real thing. We wish

THE ULTIMATETONEWHEEL ORGAN

EXPERIENCE

USER'S MANUALFirmware version 1.00

www.Crumar.it

CRUMAR MOJO CLASSIC USER'S MANUAL - Page 1/20

Congratulations for purchasing your new Crumar Mojo. You made the right choice.Crumar Mojo is a modern classic, is built around the most recent technologies but feelsand sounds as authentic as the real thing. We wish you years of enjoyment and goodmusic with your new digital tonewheel organ. Make sure you read through this usefulmanual to explore its capabilities and, most importantly, have fun!

SAFETY INFORMATION

– Do not open the instrument. The instrument can be opened and repaired onlyby qualified personnel. Unauthorized opening voids the warranty.

– Do not expose the instrument to rain or moisture.– Do not expose the instrument to direct sunlight.– Be careful not to infiltrate powders and liquids inside the instrument. Nor on

the outside.– If liquids get inside the unit, remove the power immediately to prevent the risk

of electric shock and contact a service center as soon as possible.– Do not clean using abrasive cleaners as they may damage the surfaces.– Please keep all packaging in case you need to transport the instrument to a

service center.– The instrument can be used in any Country that has a mains voltage between

100 Vac and 240 Vac.


WARRANTY

– Crumar Mojo is subject to 12 months manufacturer's warranty.– Warranty extensions are at the discretion of the retailer.– Damages caused by misuse, improper maintenance or transportation are not

covered by this warranty.– During the warranty period, the customer is entitled to repair or replacement

of any parts considered defective at no charge.– The possible replacement of the entire product is at the manufacturer's

discretion.

CHAPTER SUMMARY:

1. The sound of Mojo p. 42. The Command Panel p. 63. The Rear Panel p. 104. Accessing the Editor p. 115. Organ Edit Parameters p. 146. Effect Edit Parameters p. 187. The USB Ports p. 198. MIDI Map p. 199. Specifications p. 20

NOTES ABOUT THIS MANUAL

This manual can be considered a live document, as it may be updated in futureaccording to possible changes introduced in new firmware updates. We recommendto keep an eye at the support section of the Crumar website and check for newversions of both the manual and the instrument's firmware.

You will find that some concepts might be repeated more than once, this happensbecause there could be a mention in a chapter, and a detailed explanation in a laterchapter.

We recommend you to read this manual with the instrument in front of you, so youcan put into practice what you are reading and can have an instant feedback of thenotions here explained.


1. THE SOUND OF MOJO

VB3-II virtual tonewheel organ

The sound of Crumar Mojo is based on the same “core” of the virtualinstrument GSi VB3-II. While the virtual instrument runs on regularcomputers, Mojo is built on a new dedicated DSP platform,purposedly designed by Crumar for the new Mojo line. This meansthat with Mojo not only you have access to a familiar and intuitiveorgan interface controlling one of the most realistic tonewheel organ

simulations, but you also have access to a detailed and extensive parameter set thatlets you customize the organ sound in order to match your preferences any way youlike.

Sound Engine main features:

• Full polyphony (61 upper + 61 lower + 25 pedals = 147 notes)• 91 modeled tonewheels with accurate phase synchronization• Adjustable leakage noise and cross modulation between tonewheels• A total of 22 different tonewheel generators to choose from• Generator shaping for a total of 154 generator combinations• Adjustable global tuning from 430 to 450 Hz• Foldback on 16" deactivatable• Complex wheels• Resistor wiring with multiple options• Realistic “run” motor wow & flutter• Busbars and 9 key contact simulation• String Bass with adjustable release time• Loudness "robbing" effect• Single triggered percussion with natural capacitor discharge/recharge• Adjustable Percussion Level & Decay• Vibrato/Chorus virtual scanner• Adjustable Vibrato Scanner depth & mix• Dynamic tube overdrive simulation• Digital stereo reverb• Rotary speaker simulation with virtual microphone positioning, tube overdrive,

tube feedback• Rotors "Front Stop" brake position with adjustable preferred position• Upper and Lower manuals SPLIT with adjustable split point• Supports pedal sustain


Hardware main features

• Dual Manual Organ with two 61-note 5 octave C - C waterfall semi-weightedvelocity sensitive keyboards

• External optional Wi-Fi antenna for accessing the editor Web-App• Online USB wired editor• Two Groups of 9 Real Drawbars plus 2 pedalboard drawbars• Knobs for Volume, Drive, Reverb, Keyclick, Crosstalk, Percussion Volume,

Balance, Distance, Bass, Middle, Treble• Four dedicated buttons for Tonewheel organ percussion.• Dedicated buttons for Vibrato on/off• Vibrato type knob• Drawbar HOLD mode for alternate drawbar settings• Two drawbar presets per manual with easy storage mode• Dedicated button for rotary effect speeds• Pedal to lower function (adds the sound of pedalboard to lower manual)• Shift button for alternate functions (transpose, rotary bypass)• MIDI IN and OUT connections• USB Type B (device) for MIDI IN/OUT• 2 USB Type A (host) for software updates and wifi module• Balanced Audio outputs• Headphone jack• Expression pedal input• Sustain pedal input• Halfmoon or Footswitch input with dedicated selector• AC in 100-240V


2. THE COMMAND PANEL

In this chapter we explore the command panel of the Mojo. Most of the controls onthe panel are familiar to veterans of the tonewheel organs. If you fit that category,you've probably already recognized the drawbars, upper on the left, lower on theright, pedalboard in the middle; then the controls for the “Vibrato Scanner”, the fourtablet switches for the percussion, and you've also noticed that everything is rightwhere it belongs.

2.1 – LEFT SIDE KNOBS

On the left side you find the 3 knobs: volume overdrive and reverb. Having thesethree on the left side is kind of tactical, so you can keep playing with your right handwhile adjusting the three most important parameters before starting yourperformance.

2.2 - VIBRATO/CHORUS

The Vibrato/Chorus controls, which belong to this side of the console, are presentedexactly like on a vintage tonewheel organ. There are two large buttons for turningthe effect on or off on the upper or on the lower manual independently, and a largeknob that lets you choose the type of effect to use between the 6 possiblecombinations: V1, C1, V2, C2, V3, C3 whereas the 'V' produce just a vibrato effect andthe 'C' produce a chorus effect. In the Mojo the selector is a rotary encoder with 6LEDs that indicate the current selection.

PLEASE NOTE: As opposed to mechanical “rocket” switches, these are push-push yellowilluminated buttons, about the size of the vintage tablet switches, that work exactly thesame way. You can hit them in any point to activate them, no need to reach for the exactmiddle point. Furthermore, when the C/V effect is turned on for the lower manual, it's alsoapplied to the pedalboard tones.


2.3 – ROTARY SPEED BUTTON

The large horizontal button labeled ROTARY SPEED is used to control the built-inRotary Speaker simulator. When the simulator is on, push this button to switchbetween the slow and the fast speeds; push and hold for about half a second forbraking the rotary speaker (stop position). When in brake, push again to return to theprevious speed. The light will blink smoothly slow or fast, or will remain still, toindicate the current speed.

Use this button in conjunction with the SHIFT button for enabling/disabling theRotary Speaker simulation (see below).

PLEASE NOTE: if this button seems unresponsive, check the HM/FS selector on the backof the instrument. In order to use this button, the selector must be in the FS (FootSwitch)position. This button cannot be used if an Half-Moon switch is in use. Connections areexplained later in this manual.

2.4 – THE SHIFT BUTTON

The small SHIFT button on the top left side of the control panel is used for a fewalternate functions:

1. Push and hold the SHIFT button along with the ROTARY SPEED button todisable or enable the internal Rotary Speaker simulation. If the simulation isOFF, the red LED next to the ROTARY SPEED button becomes lit.

2. Push and hold the SHIFT button along with the MANUAL button of the lowersection, next to the PEDAL TO LOWER indication, to activate or deactivate thepedal-to-lower function that brings the pedalboard tones to the lower manual.If this function is active, the red LED will become lit;

3. Push and hold the SHIFT button along with notes, on the upper manual, fromthe second C note to the fourth C note to activate the transposition. If atransposition is active, the red LED next to the SHIFT button will become lit. Tocancel the transposition, hold SHIFT and play the third C note (middle C).

PLEASE NOTE: when the transposition is active, certain notes that are outside the 61-note playable range will not be available any more. For example, since the last note is C, ifthe transposition is up by one semitone, C becomes B, so the C key will become silent.


2.5 – UPPER PRESET

Crumar Mojo offers two presets for each manual, plus the CANCEL position, theHOLD function, and of course the manual drawbar mode.

PLEASE NOTE: Presets will only store the drawbar position, and nothing else. Also, whena preset is active, the percussion is turned off on the upper manual. This behavior reflectsexactly what happens on the real tonewheel organs, with just a few changes.

– To select a preset, just push the desired button A or B;– To use the live drawbars, push the MANUAL button;– To store a preset: once you've set the drawbars to the position you wish to

store, push and hold one of the two preset buttons, A or B, for about 2 secondsuntil the light goes off and on again.

The HOLD mode will let you prepare an alternate drawbar registration while holdingthe current registration active. When the MANUAL button is active, press theMANUAL button again, it will start blinking. While it's blinking, move the drawbars toprepare your alternate registration, you'll notice that the sound will not reflect thechanges you're applying to the drawbar registration. Once done, press the MANUALbutton again to apply the change. The light will stop blinking.

The CANCEL mode will turn the whole manual off while enabling the notetransmission on the MIDI output ports. To enable the CANCEL mode, push and holdthe MANUAL button until the light goes off. To resume from the CANCEL mode, pushthe MANUAL button or one of the A or B preset buttons.

2.6 – LOWER PRESETS

Lower presets work exactly like for the upper section, with the only exception thatyou have no percussion on the lower manual, so selecting a preset will not turn thepercussion off.


2.7 – RIGHT SIDE KNOBS

On the top row we have:

– CLICK: use this knob to adjust the amount of keyclick noise, which is the typicalnoise you hear at the attack of each note, that on a real tonewheel organ iscaused by electrical contacts underneath the keyboard;

– XTALK: use this knob to adjust the amount of cross-talk effect. Also this is aneffect found in the original tonewheel organ, mostly caused by the largeamount of wirings that interconnect all the parts of the electronic circuit;

– PERC. VOL: this comes handy to adjust the volume of the percussion sound incase it becomes too loud or too soft, which is a condition that may varyaccording to the type of amplification being used. Sometimes the percussion isjust right, but its perception may change when the speakers are set to adifferent position, or when just using a different set of speakers;

– BALANCE: when the internal Rotary Speaker simulation is active, this knobadjusts the balance between the upper horn and the bass rotor;

– DISTANCE: when the internal Rotary Speaker simulation is active, this knobadjusts the distance between the virtual speakers and the virtual microphones,varying the amount of perception of the Doppler effect and other acousticphenomenons that happen in a rotary speaker.

The knobs on the bottom row are BASS, MIDDLE and TREBLE. Nothing but anefficient and handy 3-band equalizer useful to balance the sound according to thetype of amplification system used, its positioning in the venue, also the kind ofvenue, possible resonances or unwanted reverberations. When all three knobs are inthe middle position, the sound can be considered “flat”, i.e. with no frequenciesadded to or subtracted from the original sound.

2.8 - PERCUSSION

Like on the the vintage tonewheel organs, the command panel features the fourpercussion switches that have the following functions, from left to right:

1. Turn the percussion on or off. 2. Select between soft or normal percussion volume.3. Select between fast or slow decay.4. Select the harmonic applied to the percussion tone.

PLEASE NOTE: the percussion is only present at the upper manual. Also, when thepercussion is active, the 1' drawbar will be muted.


3. THE REAR PANEL

All the connections are present at the back panel. From left to right:

– HEADPHONES: plug your headphones here to practice without an externalspeaker. This output is paralleled with the stereo line output.

– AUDIO L & R: these are TRS jacks carrying balanced line outputs at a +4 dBlevel, but can also accept TS (mono) jacks for unbalanced signal. If you have touse long cables, we suggest to use all balanced connections.

– SWELL: this TSR Jack input accepts an expression pedal with linearpotentiometer in the range 10 ~ 50 Kohm; we suggest to use the originalCrumar expression pedals, but other pedals from other manufacturers may becompatible.

– SUSTAIN: if you have a sustain pedal like those used for digital pianos, you canconnect it here for controlling the Rotary Speaker speeds (see configuration inthe Editor chapter) or for sustaining notes.

– HALFMOON or FOOTSWITCH: This section includes a TRS Jack input and a 2-way selector. You can connect either a Crumar Dual Footswitch or a CrumarHalfmoon (optional accessories) for controlling the Rotary Speaker speeds.

– MIDI IN – OUT: use these ports to connect to other MIDI equipment usingstandard MIDI cables.

– USB MIDI I/O: use this USB “device” port to connect the instrument to yourcomputer or mobile device for accessing the Editor or for DAW integration. Thisport carries only MIDI signals.

– SYSTEM USB: these are two USB “host” ports that can accept the USB Thumbdrive for installing future firmware updates, or for connecting the optional(included) Wi-Fi Dongle, or even for MIDI-USB controllers such as the CrumarMojoPedals 2018 pedalboard, as explained later in this manual.

– The last two are the Power button and the AC plug.

PLEASE NOTE: When the HM/FS Selector is in HM position (for Half-Moon switch), theRotary Speed button on the top panel is unresponsive. Set this to FS for using an externalFootswitch and/or the integrated button. This also applies to the sustain pedal functions.


4. ACCESSING THE EDITOR

Since the Crumar Mojo is based on GSi VB3-II, there's a load of parameters that canbe adjusted to obtain the desired organ sound. These parameters are accessiblethrough the Editor software.

Mojo offers two editors:

1. The internal editor, accessible through a Wi-Fi connection. The Mojo willfunction as an hot-spot that creates its own private network to connnect to.

2. The remote MIDI editor, accessible through the MIDI-USB port and a computeror mobile device connected to the Internet.

4.1 - OPTION # 1 – Wi-Fi Editor

Mojo comes with an optional USB Wi-Fi dongle. Connectit to one of the two SYSTEM USB ports when the Mojo isturned off, then turn on the instrument and wait until it'sready. Use your computer or your mobile device and scanfor new Wi-Fi networks. You should be able to find a SSIDlike “Mojo-xxxxxx”, accessible without password. Accessthis network, and if your mobile warns you that there's nointernet available with this network (which is quiteobvious), dismiss the warning and continue.Now you can launch your favorite web browser and navigate to the following URL:

http://192.168.1.1/

PLEASE NOTE: the internal Wi-Fi access point accepts only one connection at a time, so ifyou can't get to connect to the Mojo, check that you haven't left another deviceconnected. Also, if you don't want someone else to connect to your Mojo, just make surethe dongle is not present before you turn on the instrument.

4.2 – OPTION # 2 – MIDI Editor

You need a USB cable (like those used for connecting a printer to a computer), use itto connect the Mojo to a computer, or to an Android device using an OTG adapter, orto an iPad using Apple's Camera Connection Kit. Once done, launch your CHROMEbrowser and navigate to this website:

https://www.gsidsp.com/mojoclassic

PLEASE NOTE: if you don't have CHROME, install it from Google, or from the Play Store(Android) or from the App Store (Apple). Other browsers may not be compatible.


http://192.168.1.1/

https://www.gsidsp.com/mojoclassic

4.3 – EDITOR HOME PAGE

When the connection is done and the Editor loadsinto your web browser, you should be able to seethe main screen, like the picture here.

On the top bar you can see an HOME icon. Tap hereevery time you need to return to this screen (don'tuse the BACK function of your browser). On the topright there are two more icons: one is forsaving/loading snapshots, the other is for viewingan help page.

The bottom bar contains links to other pages.

In the middle of the screen you have the GlobalOptions:

– Tuning; This is the global tuning, where thereference A note can be set to a frequencybetween 430 and 450 Hz. The default value is440 Hz.

– TX Channel: select the MIDI Basic Channel for transmitting events to the MIDIoutput port.

– TX Velocity: set this to YES if you want the velocity information is alwaystransmitted. If this is set to NO, velocity information is fixed at 127 and the “hightrigger point” is used for both keyboards. High trigger point is always used forthe internal sound generator.

– CC Send: choose whether you wish to send all MIDI Continuous Controllermessages, only messages related to the pedals, or none.

– CC Presets: choose whether you wish to send all drawbar MIDI CC messageswhen an organ preset is selected. If this is on Send, CC messages will be senteach time you switch to a different preset, for both manuals.

– Sustain Pedal: select the function to be assigned to the internal SUSTAINconnector:

– Rotary Speed (Latch): use the sustain pedal to switch between rotary speeds in latchedmode, i.e. the speed changes each time the pedal is pushed and released;

– Rotary Speed (Mom.): use the sustain pedal to switch between rotary speeds inmomentary mode, i.e. hold the pedal down for slow, release for fast;

– Sustain Upper, Lower, All: decide whether to use the sustain pedal to sustain notes onthe upper manual only, or on the lower manual only, or on both manuals.


4.4 - SNAPSHOTS

Mojo can save and recall up to 8 snapshot. Asnapshot stores the values of all editingparameters, and can be used to store a particularsetting that you might want to recall or foralternating between different settings. It's likehaving different tonewheel organs at yourdisposal.

Tap the Snapshot icon on the top right of theeditor screen if you wish to save (the red floppydisk icon) or recall (the green folder icon) one ofthe available shapshots. Everytime a snapshot isrecalled, is set as the default snapshot and willalways be recalled when the instrument is turnedon.

4.5 – PARAMETER EDITING

Tap on the links on the bottom bar to open the parameter pages for the organ partand for the effect section. Parameters are presented under the form of largehorizontal sliders with a readout value. Scroll sliders left or right to vary the values.Scroll the page up or down to reveal the entire content. Click the yellow title bars tocollapse or expand a section.


5. ORGAN EDIT PARAMETERS

Parameters for the organ part:

– Generator: select a tonewheel generator from this list. Each generator is basedon actual values as measured from real console organs of the B/C/A series.

– Generator Shape: select between OFF (no shaping) or 3 levels of CUT and 3levels of BOOST. These will modify the amplitude chart of the generator valuesaccording to different positions along the generator. This parameter does notapply any equalization to the sound. Levels 1 can boost or cut starting fromwheel n. 25; levels 2 start from wheel n. 52; levels 3 start from wheel n. 72.

– Leakage: adjusts the background hum & hiss.

– Crosstalk: adjusts the amount of crosstalk caused by the analog circuitry. Thisis a very important element of the tonewheel organ sound.

– Xtalk Shape: since the crosstalk consists of both bass and treble tones, thisparameter mixes between the presence of one or the other, left towards a“rumble” noise, right towards a “brilliant” noise.

– Complex wheels: are special tonewheels only used for the first 12 tones wiredwith the pedalboard. Unselecting this parameter will use standard sinustonewheels.

– Foldback on 16': the first 16 wheels wired to the keyboards are usually foldedback, thus starting from wheel n.13 rather than from wheel n.1. If you wish touse the first 12 wheels on the manuals, uncheck this option but you should alsouncheck the Complex wheels.

– Resistor wires: are the small wires that in the vintage organ connect thekeyboards to the generator. This parameter offers three different values:“Console: NEW”, as specified by the original B3 specifications; “Console: OLD”,resulting in a more present low-end; “Spinet”, same as “Console NEW” butwithout the foldback.

– Drawbar trims: the 9 parameters under this section can be used to adjust thepresence of each drawbar. This will apply on top of the actual drawbarregistrations for both the upper and the lower manual.

– Percussion settings: set the parameters of the percussion circuit such as thelevel when it's on normal or soft, the decay time when it's on slow or fast, theoverall level, and the loudness loss when the volume tab is set to normal.


– Perc Paradise Mod: this is a “hack” that causes the percussion to never decay.What's special in this is that if you activate the scanner vibrato effect, you'llnotice that the vibrato is applied to the rest of the drawbars but not to thepercussion tone.

– Other settings: here you can adjust the depth of the vibrato circuit and the mixamount that affects the chorus settings, plus some parameters related to thegeneration of the KeyClick noise.

– Preamp Bass / Treble: adjust the frequency response of the organ's built-inpreamp circuitry.

Parameters for the Rotary Speaker are:

– Horn slow / fast: adjust the speed offset of the horn for when the speed is onslow or on fast.

– Bass slow / fast: same as above but for the bass rotor.

– Horn up / down: adjust the acceleration and deceleration times of the horn forthe transitions between the slow and fast speeds. When the brake is engaged,the power is taken off from the motor so the horn slows down until stoppingonly driven by the centrifugal force, so the time between fast and stop may belonger than from fast to slow.

– Bass up / down: same as above but for the bass rotor.

– Ambience: a real amplifier stays in a real environment causing themicrophones to capture the sound reflections as well as the direct soundcoming from the speakers. This parameter adjusts the amount ofenvironmental reflections.

– Cabinet: adjusts the amount of resonances caused by the wooden cabinet.

– Mic Angle: adjusts the angle between the two microphones at the horn,ranging from 0 (both microphones in the same spot) to 180 degrees(microphones at the opposite sides of the cabinets). This simulation considersonly three microphones, two for the horn and one for the bass rotor.

– Horn EQ: not all vintage rotary speakers have the same quality for whatconcerns the sound coming from the horn, some are brighter, some are dulleror maybe just well balanced. This parameter lets you adjust the treble responseof the horn sound.


– Mid reflections: adjusts the amount of sound reflections happening in themiddle of the stereo field.

– Doppler intensity: the so called “Doppler” effect is the fundamental of the“Leslie” effect that causes the sound to be cyclically untuned while the soundsource (the speaker) gets farther or nearer to the listened; this parameter letsyou adjust the amount of this effect that is mostly caused by the soundreflections over the walls around the amplifier.

– Dry Leak: some of the dry sound coming from the speakers does not reach therotating elements and is mixed with the rotating sound. Use this parameter toadjust the amount of dry signal you want to be mixed in.

– Bass Port: a real Leslie cabinet has a hole in the back that serves for tworeasons: 1) lets the heat from the motors ventilate out from the cabinet and 2)acts as a bass tuning port, like those found on modern speakers. If you put amicrophone in front of this hole you get nothing but sub-bass frequencies. Usethis parameter to adjust the amount of sub-bass you want to get into the mix.

– Tube feedback. This is a very important parameter that works on an aspect ofthe whole amplification system that can drastically vary both the dynamicresponse and the frequency response, as well as have an impact on theoverdrive. When a Leslie cabinet is set very close to the Hammond organ and isplayed at a high volume, there's some sort of feedback between the tubes, thetransformers and the pickups of the Hammond and the speakers of the Leslie,resulting in a sound that tends to get “fatter”, the attack is “punchier” and thedistortion is aggressive, giving you the feeling that some sort of energy islooping between the organ and its amplifier. Now, a genuine Leslie 122 or 147is only 40W of power, but if you try to connect your Hammond organ to a 100Wguitar amp such as a Marshall JCM900 or a Fender Twin you'll notice that theamp starts going in feedback even if you don't play any note on the organ. Thisis... pure analog power! Try this parameter at small steps, it can drasticallychange the sound in both a pleasant or unpleasant way, according to yourtastes.

– Stop Position: you can use this parameter to find a position where the hornand rotor should “preferably” stop when you set the speed lever in the brakeposition and the “Front Stop” option is enabled. Please consider that not alwaysthe position you've set is reached with precision, it depends mostly on theRamp Down times you've set... after all it's virtual reality, baby! It takes intoaccount the kinetic energy, the gravity, the belt friction...

– Noises: well, a real rotary effect is far from being a quiet amplifier. Yourmicrophones will pick up not only the sound but also the wind generated bythe rotating elements, and the relays that switch between the fast and slowmotors. Use this parameter to adjust the amount of audible noises.


– Memphis Style: check this parameter to unplug the motors that drive the bassrotor. This way, the bass stays motionless while the horns keep spinning.

– Front Stop: this very sought after function causes the horn and the bass rotorto stop always in a “sweet” spot every time the brake is engaged. VB3-II uses asimple algorithm that produces this effect in a very pleasant and seamless waythat you won't even notice when you're braking the rotors.

Notes on the rotation speeds.

All parameters in the edit pages, whenever moved, display the readout value ineither MIDI or actual value, when available. As for the Rotary speaker's rotationspeeds and times, values are shown in Hz and Seconds. To convert Hz to RPM(revolutions per minute), just multiply the Hz value by 60. For example, the horn,when the Horn Slow parameter is set at 64, rotates at 0,77 Hz which translates in 46,2RPM. All the speed values can be varied between 50% and 150% of the center value.The ramp up and ramp down times are in seconds, and can be varied between 50%and 500% of the center value.

Center values are:– Horn slow: 0,77 Hz 46,2 RPM→– Horn fast: 6,9 Hz 414 RPM→– Bass slow: 0,72 Hz 43,2 RPM→– Bass fast: 6,4 Hz 384 RPM→– Horn ramp up: 1 second– Horn ramp down: 0,8 seconds– Bass ramp up: 6 seconds– Bass ramp down: 3,5 seconds

These times are average values as measured by a wide sample of well working andserviced vintage Leslie 122, 142, 147 and 145 models. Due to centrifugal energy,when the Rotors ramp down from fast to brake and the Front Stop option is disabled,they take a bit longer to get to full stop position.


6. EFFECT EDIT PARAMETERS

Mojo features a built-in high quality stereo digital reverb that can be adjusted in avariety of ways in order to reproduce virtually any kind of artificial environment.

Reverb settings are:

– Decay: adjusts the average reverb tail length.

– Damp: simulates various types of reflecting walls, from tiles to absorber panels.

– Diffusion: adjusts the diffusion of traveling waves across the reflectingsurfaces.

– Pre-delay: adjusts the time between the direct sound and the early reflections.

– Room size: adjusts the size of the virtual room, from a small cabinet to a largetunnel.

– High / Low shelf: adjust the amount of treble or bass frequencies to be to cutoff the sound before starting to reverberate.

This space intentionally left blank.


7. THE USB PORTS

Mojo includes 2 Type-A “host” USB 2.0 ports. These are mainly used forupdating the software, for file functions or for accepting external MIDIaccessories. An interesting use for a USB system port is the possibility toconnect a “Class-compliant USB-MIDI device”, i.e. one of the many MIDI devicesthat don't need special drivers when they are connected to a conventional

computer. The Mojo will recognize USB-MIDI devices and will use them along with any other MIDIequipment connected to either one or both the classic MIDI inputs located on the rear panel.

Please avoid connecting unsupported devices to this port. Please note that this port can supply a max of250 mA of current. Don't use this port to charge mobile devices.

Original CRUMAR accessories that can be connected to the SYSTEM USB ports:– Mojopedals 2018– G.M.LAB D9U – d-i-y drawbar controller– G.M.LAB D9X – d-i-y drawbar controller with extended features– G.M.LAB MJU – d-i-y Midi Jack USB

An additional Type-B USB 2.0 port is present at the back side of the Mojo thatprovides Class-compliant USB-MIDI IN/OUT connection to your computer. Use thisport to connect the Mojo to your computer software. No drivers are needed forWindows, OS X and Linux.

8. MIDI MAP

PARAMETER NAME C.C.NUMBER

REMARKS PARAMETER NAME C.C.NUMBER

REMARKS

Drawbar Upper n.1 12 Volume 7

Drawbar Upper n.2 13 Drive 76

Drawbar Upper n.3 14 Reverb 91

Drawbar Upper n.4 15 Key-click 75

Drawbar Upper n.5 16 Bass 8

Drawbar Upper n.6 17 Middle 9

Drawbar Upper n.7 18 Treble 10

Drawbar Upper n.8 19 Vibrato Type 73 Values = 0, 25, 50, 76, 101, 127

Drawbar Upper n.9 20 Vibrato Upper Switch 31

Drawbar Lower n.1 21 Vibrato Lower Switch 30

Drawbar Lower n.2 22 Pedals-to-lower 55

Drawbar Lower n.3 23 Pedalboard release time 56

Drawbar Lower n.4 24 Rotary Effect Switch 85

Drawbar Lower n.5 25 Rotary Effect Slow/Fast 1 Values: 0 = slow, 127 = fast

Drawbar Lower n.6 26 Rotary Effect Run/Stop 68 Also sends CC#1 value 64 when speed = stop

Drawbar Lower n.7 27 Leakage 86

Drawbar Lower n.8 28 Crosstalk 87

Drawbar Lower n.9 29 Crosstalk Shape 88

Drawbar Pedals n.1 33 Percussion Level 89

Drawbar Pedals n.2 35 Rotary Speaker Balance 90

Percussion On 66 Rotary Speaker Mic. Distance 93

Percussion Soft 70 Rotary Speaker Horn EQ 94

Percussion Fast 71

Percussion Third 72


9. SPECIFICATIONS

Technical specifications:– power rating: 100 ~ 240 Vac– output level: +4 dBu– headphone output max load: 32 ohm– dimensions: cm 95 x 55 x 17– weight: 18 Kg

Crumar Mojo is a digital Musical Instrument designed and built in Italy. All rights reserved.

All trademarks used herein are the property of their respective owners. Crumar is a trademark owned by:

V.M. ConnectionVia Lucio Vero, 2 - 31056 Roncade (TV) - Italywww.Crumar.it

Last update: April 2020.


Documents

THE ULTIMATE TONEWHEEL ORGAN EXPERIENCE · Crumar Mojo is a modern classic, is built around the most recent technologies but feels and sounds as authentic as the real thing. We wish